dayoutlast is a record of my direct engagement with mostly contemporary art, mostly Los Angelean.

As this blog has evolved since its 2010 inception, so has my perspective. What I once perceived as central within the investigation was what was central, literally, within the photographic frame that I shared here. While still an important consideration, such thinking has also given way to more peripheral considerations, ones also accompanied occasionally by text (written manifestation of thought) and the oscillations between them. What's missing here are larger unknowns surrounding issues of presentation and representation; the amount of time and space it actually takes to accomplish such first-hand observations; and the quandaries between documentation and interpretation.

Despite my attempt to communicate here with image and text what is essential in some respect about the artwork, neither representation should ever be considered a substitution for the primary viewing experience. Of course, occasionally there are exceptions.

Most of the time, these posts are merely remnants---residual fragments---from my last day out.

Thursday, August 30, 2018

Kazuo Kadonaga "Wood / Paper / Bamboo / Glass"@ Nonaka-Hill



Wood No. 5-CI, 1984


The essence of both paper and wood is considered as layers expand from a center and contract from the outer age, both as a function of artist and time.



Wood No. 5-CI, 1984





Wood No. 8-D, 1977


The decaying rhythms of time can be observed but only in the time of tis decay.










Bamboo No. 1-B, 1984





This incidental observation of this suspended drop of sap on the armature for Bamboo No. 1-B somehow contrasts with the longer duration that most of these works endure to become what they are while also reminding of how closely looking must be sometimes. Honestly, this sap drop has no artistic intent, but somehow punctuates the viewing experience as does Glass No. 4-I. Both examples drop/fall with gravity, accumulate, and form over time, again from a center in time with cooling effects.




Bamboo No. 1-B, 1984



Paper No.1-BF, 1983


Glass No. 4-I, 1999





Time moves at different rates and different directions and through different spaces both independently and of artistic collaboration.

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